When Theatre for One’s roving, tête-à-tête box first rolled into the lobby of the Signature Theatre way back in 2016, the programmed micro plays related to each other through little more than their shared means of production.
Continue reading “ReCycling, RePsychling, RePsycheling”
Mr. Parker turns the necessary “evil” of Yondr into a dramaturgical good.
Continue reading “O Yondr, Where Art Thou?”
I hereby request that more movies and stage productions subvert how audiences expect to spend their time in a theater.
Continue reading “Durable Durations”
Does a show end at the exact moment the curtain falls?
Continue reading “Of a Portrait of a Portrait of a Portr”
Literature is a textual medium.
Continue reading “Printing Blanks”
How does an actor play a character who can’t find the words to express themselves?
Continue reading “Wielding Artifice”
Societies consternate themselves over how to teach the next generation to become quality citizens.
Continue reading “What You Do with a B.A. in English”
There’s a contradiction at the heart of one-person plays about trauma.
Continue reading “Intentionally Mala”
And now, we return to one of Write All Nite’s favorite concepts: deliberately-ineffectual art that serves the art’s ultimate effect.
Continue reading “Who Killed My Distance”
For theater geeks of a certain age, Which Way to the Stage is as reflective as art gets.
Continue reading “Which Way Back to Me”
Write All Nite 